On his website, Cohen has a very recent performance of the Mozart Concerto that is the most danceable I've every heard. When he plays a rondo, it really is a rondo-you can imagine peasants and shepherds rocking to the music. His recording of the Debussy Rhapsody with Boulez is one of the best of all time. And his Nielsen is positively haunting and filled with shades of tonal variation seldom heard.

I agree with Ed that there have been many mouthpieces and want to add that many mouthpieces bearing the names of great players (e.g. Marcellus, Combs, Lurie) have turned out to be less than wonderful. I hope that doesn't happen to Cohen's mouthpieces. If they turn out to reflect his playing at its best, they should be some of the finest mouthpieces ever offered. Let's hope that happens. If anybody can push the world of classical clarinet mouthpieces beyond the monotonous choice of 1) a Chedeville clone, 2) a Frank Kaspar Chicago or Cicero clone, 3) A hybrid Chedeville/Kaspar clone, it should be Franklin Cohen. He has never been a "let's do it the same old way" kind of player, so I would hope that he would do more than just turn out "the same old kind" of mouthpieces.

I'm wondering if the difference between the three models is only in the facings or if there will be deeper, internal design differences as well.

I'll get to try these later in the year, should be interesting...
re the comment from rmk54, reminds me of the suggestion from Peter Pryzbylla that one should "avoid refacing your mouthpiece on the day of a concert" (good advice!)
I once had an international soloist, visiting NZ for various concerto performances, phone me the night before a performance asking me to reface his mouthpiece. Apparently the humid weather had warped the facing, apparently (??????). For various reasons, any number of reasons, I decided NOT to touch his facing. I did however measure the mouthpiece to assure him that it was his reeds that had warped....